Class Human Figure VI

This CU is based on drawing and painting from direct observation of male and female models, with and without props. Aware of the concepts of anatomy and the proportions of the human body, the student must represent the model in situ with technical and sculptural quality, exploring drawing and painting to maintain relationships of scale, thinking about composition as a conceptual challenge and the relationship between body/ground/surrounding space and any props, and finally the relationship between light and shadow (accentuation of contrast and modelling). Students are expected to explore graphic and pictorial approaches to manifest an authorial plastic language in these exercises, seeing this work not as an exercise but as a challenge to their representational skills. The poses are long and aimed at painting exercises.  

Not applicable

Drawing/sketching the model with reference points as a basis for the execution of the painting, taking into account the natural scale, perspective and proportions of the human figure; The figure/background relationship with an emphasis on experimenting with challenging, unexpected and classic framing; Painting with modelling of light and shade to achieve volumetry; The rigour of colour applied in a mimetic relationship with the model. The relationship of the body to small objects (where applicable); The human body and the occupation of space: the body in relation to its surroundings. The curriculum will be developed through two exercises: 1 - Painting developed in the classroom with tutorial guidance and collective critical discussion; 2 - Anatomical and detailed studies (independently developed graphic diary).

The relevant pedagogical methodology in this CU is the tutorial accompaniment of the student. The individualised approach aims to broaden and stimulate the development of plastic languages, artistic technical processes and the critical view on the results achieved. This individualised accompaniment is a decisive support for the objectives to be achieved: technical, plastic and artistic quality of the Paintings by on-site observation of the model to promote the progression of an authorial language obtained in autonomy. Critical and self-critical capacity is valued through collective discussions in the classroom where processes and results in the realisation of each exercise are debated, promoting the use of appropriate technical terminology. These collective conversations also discuss affinities and differences between the imaginary of colleagues, issues of technical rigour in the chosen media, capacity for experimentation, quality and ambition of the paintings.

EDWARDS, Betty - The New Drawing on the Right Side of the Brain. A course in enhancing creativity and artistic confidence. London: Harper Collins, 2008.  HALE, Robert Beverly - Drawing Lessons from the Great Masters. New York: Watson-Guptill, 2009.  JENNY, Peter - Desenho anatómico. Barcelona: Gustavo Gili, 2014.  KAUPELIS, Robert - Experimental Drawing. New York: Watson-Guptill, 1980.  MALBERT, Roger - Drawing People: The Human Figure in Contemporary Art. United States: Distributed Art Publishers, 2015.  MASLEN, Mick; SOUTHERN, Jack - Drawing Projects - an exploration of the language of drawing. London: Black Dog Publishing, 2011.  NEW, Jennifer - Drawing from life, The journal as art. New York: Princeton Architectural Press, 2005. NICOLAIDES, Kimon - The Natural Way to Draw. Boston: Houghthon Miflin Company, 1969.